VIXX’s Ravi to release fifth solo EP ‘Love&Holiday’ next week

History hangs in the early Autumn air, as New Century, a venue born in 1963, yet reborn for 2022, hosts the 30th anniversary of The Charlatan’s sophomore release, Between 10th and 11th.

Nestled behind luxury designer storefronts on the most famous street in Beverly Hills lies a new Mexican steakhouse that is already making a huge splash in the L.A. restaurant scene. The Hideaway is the latest hot spot from celebrity party producers Jeffrey Best and Ken Jones of Best Events, as well as nightlife titans JT Torregiani, Sylvain Bitton and David Jarrett of Warwick.

With a new British government, specifically a new culture secretary, in place, the decisions to privatize Channel 4 and to scrap the BBC licence fee are being reviewed. 

A man who had been on a night out 'drinking with his boys' says he spotted a puma on a roof. James Davies claims he saw the large cat near the Chester City Centre Market when he had stepped out to go the toilet.

Wendy Williams is back in rehab. The 58-year-old TV presenter has entered a treatment facility to “take some time to focus on her health and wellness” her publicist confirmed on Wednesday. (14.

VIXX rapper and soloist Ravi has returned with his fifth EP ‘Love&Holiday’ with two new music videos.On September 12 at 6pm KST, the musician dropped his latest EP ‘Love&Holiday’ under his self-established label GROOVL1N along with the music video for one of its two title tracks, ‘Kiss You’.The new music video is a compilation of clips from Ravi’s 2022 ‘Revoir’ concert, including interactions with the crowd and his backup dancers. The end of the video features a snipper of the musician saying to fans at the end of the show: “I will never forget this, goodbye! I love you.

Natasha Tripney’s review of the book in The Guardian, she describes the Marion and Patrick points of view, saying that the “possessive note is the key to their tragedy and it’s telling that the man so desired by them both remains voiceless, distant.” That is not the case in Grandage’s film, adapted for the screen by Ron Nyswaner (“Philadelphia”), in which Tom is very much a real person but still feels “voiceless, distant,” a slippery, elusive character. There is a gulf between the older Tom and the younger Tom in “My Policeman,” in both writing and performance, as there is with all of the younger and older characters in the film. Older Tom is bitter and taciturn, avoiding his wife by taking long walks on the sea wall with his dog.

Jessica Kiang It isn’t that people’s first instincts are bad in “Victim,” Slovak director Michal Blaško’s compelling, apprehensive feature debut. A distraught Ukrainian mother travelling back to her adopted home in the Czech Republic to be by her injured son’s hospital bedside, for example, will find someone willing to drive her when her bus is delayed. It’s just that once they find those instincts lining up with their pre-existing prejudices — say, when the boy alleges, or heavily implies, that the ones who beat him up were of Roma background — then those same people will erase all nuance, ignore all complexity, and do almost anything to drink further into the intoxication of righteous moral outrage. Even if it means shoring up a teenager’s lie. 

Thania Garcia A Louisana jury has indicted New Orleans rapper Mystikal on charges of first-degree rape from an alleged sexual assault that is said to have occurred at his Lousiana home in late July. Should the grand jury find him guilty, the 51-year-old will face a life sentence under state law. Mystikal, whose real name is Michael Lawrence Tyler, was also handed counts of criminal damage to property, false imprisonment, domestic abuse battery by strangulation, simple robbery and numerous drug possession accusations, according to the New Orleans Advocate. In a warrant, sheriff’s deputies have accused Tyler of attacking a female in a violent encounter about finances on the night of July 30, during which he allegedly took her car keys and sexually assaulted her.

Guy Lodge Film Critic Even the most solidly founded of marriages can be strained and shattered by the death of a child. For handsome, wholesome Japanese couple Taeko and Jiro, however, that tragedy shows up all the fault lines that were already in their young relationship, and that’s before living ghosts of the past show up for both partners. Koji Fukada’s “Love Life” unabashedly embraces melodramatic contrivance in its examination of modern middle-class love tested as much by social prejudices as by personal demons; it just does so with such pallid, polite reserve that its sentimentality never becomes transcendently moving. As such, this agreeable but overlong pic finds the Japanese writer-director still struggling to regain the form of his jolting 2016 Cannes prizewinner “Harmonium.”

Grief and guilt are the twin quiet rivers running beneath Koji Fukada’s ambiguously titled Venice competition entry Love Life, a delicately tangled story of generational conflict and the silences that, without being overtly aggressive, can drive people apart. Anyone familiar with the work of Japan’s greatest cinema maestro, Yasuhiro Ozu, will recognize the general territory. It is a space within which tectonic social shifts are disguised under layers of traditional social observance, often involving large meals, and where profound emotions may be — and often must be — contained within a glance.

Elsa Keslassy International Correspondent MK2 Films has scored key territory deals on Japanese director Koji Fukada’s “Love Life,” which makes its world premiere in competition at the Venice Film Festival. Set in contemporary Japan, “Love Life” is a character-driven film revolving around Taeko and her husband, Jiro, who are living a peaceful existence with her young son, Keita. When a tragic accident brings the boy’s long-lost father, Park, back into her life, Taeko throws herself into helping this deaf and homeless man to cope with the pain and guilt. Popular Japanese actress Fumino Kimura (“The Fable: The Killer Who Doesn’t Kill”) headlines the film. MK2 Films has now sold the movie to Teodora (Italy), Imagine (Benelux), Leopardo (Portugal), Demiurg (Ex Yugoslavia), New Cinema (Israel), Swallow Wings (Taiwan), Edko (Hong Kong), Impact Films (India) and Encore Inflight (Airlines).

Patrick Frater Asia Bureau Chief The titles of Fukada Koji’s films almost drip with bitter irony. “Sayonara” seemed to be a farewell to human actors. Instead of being harmonious, Cannes Un Certain Regard jury prize-winner “Harmonium” was pitch black and steeped in quiet violence. Fukada’s latest, Venice Film Festival competition title carries the moniker “Love Life.” But its subject matter is loneliness. The story starts out on familiar lines, involving a married couple where suddenly the ex-husband of the wife appears, potentially setting up the melodrama of a triangular relationship. But in Fukada’s hands things are colder and more painful. The newcomer is burdensome, deaf and homeless. His arrival triggers, not love, but fragmentation, individualism and loneliness.